Medeski Martin & Wood Make Triumphant Return Aboard Jam Cruise 22

Jam Cruise 22 aboard the MSC Divina made its first port stop on Monday, giving cruisers a chance to trade sea legs for sandy toes. The ship dropped anchor off Grand Turk, where calm turquoise waters and the sweet smoke of jerk chicken defined the day’s laidback rhythm.

Golf carts zipped around the island’s quiet roads as Jam Cruisers explored beaches, beach bars and crystal shallows. In true Jam Cruise fashion, even off the boat, the vibe remained unhurried and communal with no hard sells, no chaos, just sunshine and smiles.

Medeski Martin & Wood Reunite on the Pool Deck

After a blissful day ashore, the energy shifted as one of the most anticipated sets of the cruise kicked off. Medeski Martin & Wood, the trailblazing trio of keyboardist John Medeski, drummer Billy Martin and bassist Chris Wood, made their long-awaited return to the Jam Cruise stage. It was their first full public performance since 2022’s Brooklyn Comes Alive, and only their second in the last eight years.

Each musician is a Jam Cruise veteran in some form, but they hadn’t performed as a trio on the trip since the seventh sailing in 2009. The reunion carried a tangible sense of history and gratitude. From the opening notes, the chemistry between them felt intact and alive.

MMW launched with “Hermeto’s Daydream,” the lone track from their 1992 debut Notes From The Underground to appear in the 90-minute set. The piece floated through otherworldly textures before settling into its groove, giving early hints of the telepathic interplay the three would display throughout. Martin and Wood beamed at one another as Medeski’s organ darted and shimmered above, while percussion toys of every shape and sound surrounded Billy’s kit like a mad scientist’s lab.

The energy dialed up quickly with “Last Chance To Dance Trance (Perhaps)” from Friday Afternoon in the Universe(1995), a perfect snapshot of MMW’s singular identity: deep, ecstatic groove meets wild rhythmic freedom. Martin’s drumming became fiercely expressive, locking into Wood’s thick, hypnotic bassline as Medeski pummeled his keys with joyous abandon.

The trio rolled seamlessly into “Jelly Belly” from Shack-man (1996), all slippery funk and urban swagger, before jumping a few years ahead to “Start-Stop” off Combustication (1998) and “Big Time” from The Dropper (2000). In doing so, they touched five of their first six albums in chronological order — skipping 1993’s It’s A Jungle In Here, but soon circling back with a wink.

Sometime mid-set, the audience erupted as the trio dropped into the old favorite medley of Thelonious Monk’s “Bemsha Swing” and Bob Marley’s “Lively Up Yourself,” bridging jazz and reggae with dizzying finesse. It was a masterclass in genre alchemy, equal parts cerebral and celebratory.

Returning to Shack-man, MMW found new fire on “Night Marchers,” riding its relentless pulse to ecstatic peaks. The trio seemed to rediscover the joy of simply playing together. By the time they brought the set to its raucous conclusion with “Chubb Sub” from It’s A Jungle In Here, smiles were as wide on stage as on deck. The Pool Deck crowd roared in appreciation, fully aware they were witnessing something rare. Another MMW set follows tonight in the Pantheon Theater.

Aron Magner Reflects & Reimagines

Later in the evening, the ship’s atrium provided a more intimate scene as Aron Magner hosted an hour-long performance. Beginning on solo piano, The Disco Biscuits keyboardist offered delicate instrumentals including a stirring rendition of Jimi Hendrix’s “The Wind Cries Mary.”

Magner then brought up vocalist Kanika Moore and introduced a heartfelt segment reflecting on Bob Weir's influence. He spoke fondly of sharing the stage with Weir, “not as a flex,” he noted, but as a testament to Bobby’s generosity. The pair had never performed Weir’s “Looks Like Rain” before, yet their interpretation was remarkable. Moore’s powerhouse vocals reshaped the phrasing with soulful intensity while Magner’s piano shimmered beneath her.

For the finale, Magner invited his Biscuits bandmates, bassist Marc Brownstein and drummer Marlon Lewis, to join him and Moore on Stevie Wonder's “He’s Misstra Know-It-All.” The addition of groove and grit to the extended jam brought the atrium to its feet.

From Australia With Love

Elsewhere, Australian keyboard wizard Lachy Doley built on the buzz from his earlier Pool Deck breakout with a packed second show in the Black & White Lounge. Doley’s custom Clavinet, equipped with a whammy bar, let him bend notes like a guitarist, blurring the lines between organ soul and rock guitar fire. By the time he closed with a volcanic version of “Voodoo Child,” it was clear why fans were spilling into the hallways to catch a glimpse.

The All-Star “Grateful At Sea”

Later that night, Lebo (Dan Lebowitz) hosted his Grateful At Sea celebration in the same Lounge, a revolving-door all-star tribute to the Grateful Dead. With Lebo and Aron Magner as the common thread, the lineup shifted every few songs, keeping the mood fresh and unpredictable.

The opening salvo featured bassist Sarah Elaz, keyboardist Peter Levin, drummer Matt Butler and guitarist Tim Palmieri for “Truckin'” and “Cassidy.” Eggy stepped in next for a lightning-charged “Jack Straw” with Lebo and Magner, followed by Tony Hall taking over bass duties on a funky “Feel Like a Stranger.”

George Porter Jr., drummer Taylor Galbraith and Disco Biscuits guitarist Jon Gutwillig later joined for “They Love Each Other,” giving it a swampy New Orleans pulse. Mihali replaced Barber for a joyous “Scarlet Begonias,” his guitar intertwining with Jake Simpson's fiddle in radiant harmony.

That “Scarlet” jam stretched and swelled until it cracked open into “Turn On Your Lovelight.” Seamlessly, the ensemble mixed in smoky hints of “Smokestack Lightning,” channeling the raw, primal energy of early Dead shows. Guitarist Joe Marcinek joined for the grand finale, pushing the jam to a raucous, feel-good peak that had every hand raised high by the time the lights came up.

Setting Sail Once More

After a day spent balancing clear waters, deep grooves and historic comebacks, Jam Cruise 22 set its course back to sea. Tuesday’s full day on the water promised another round of nonstop performances, beginning in early afternoon and stretching well past sunrise — just the way Jam Cruisers like it.